Dead Voices On Air ‎– Piss Frond

Label:
Invisible ‎– inv120cd
Format:
2 × CD, Album
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

1-1 Geong G'uma
Drums – Ryan MooreGuitar [Evil Twang] – Chris HoustonGuitar [Invisible] – Tom Anselmi*Synthesizer [Chroma, Moog] – Sugarpill
5:15
1-2 The Durrow Book
Drums – Ryan MooreVocals, Voice [Outro] – Sugarpill
6:10
1-3 Sulphur
Cello – Finn MannicheDrum Machine [Roland Rhythm 77] – Sugarpill
5:00
1-4 Red Kerre
Cello – Finn MannicheSynthesizer [Chroma], Vocals – Sugarpill
4:56
1-5 Foss Maerum
Bass – Ryan MooreSynthesizer [Chroma] – Sugarpill
5:28
1-6 Caw Gap
Cello – Finn Manniche
4:41
1-7 Swan Flax
Bass – Ryan MooreDrums – Pete Bourne*
11:33
1-8 Castered Carts
Vocals – Sugarpill
3:53
2-1 On Hare Hill 25:24
2-2 Of Hare Hill 11:56
2-3 Arbeia 1:14
2-4 Pons Aelius 2:29
2-5 Voss Pilae 3:31
2-6 Aesica 1:54
2-7 Irthing Fell 9:59
2-8 Incthuthil 3:02

Companies, etc.

Credits

Notes

Disc One: Produced at Miller Block, 1998.
Disc Two: Produced at #302-Watershed, Vancouver, BC, 1997.

Jewel double-case packaging with 6-panel folded insert.

Barcode and Other Identifiers

  • Barcode: 6.37642.0120.2.5
  • Matrix / Runout (CD1): INV00120D1
  • Mastering SID Code (CD1 ): IFPI L044
  • Mould SID Code (CD1): IFPI 1635
  • Matrix / Runout (CD2): INV00120D2RP1
  • Mastering SID Code (CD2 ): IFPI L044
  • Mould SID Code (CD2 ): IFPI 1635
  • Other: panambient. 1998

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dghkfhldfdhlfa

dghkfhldfdhlfa

December 13, 2010
this is somewhat of a turning point in spybey's career; if you're only going to get one spybey disc, this is the one to get because it explores both aspects of dead voices on air.

up until this disc, spybey was known for creating aural soundscapes. he called it "music for the eyes", which i think is beyond pretentious. while i agree with his recoil from the term ambient, there are certainly overlaps. when one thinks of "ambient music", they think of electronic impressionism, sparse arrangements, drones, floating through space, etc. early dvoa does not sound like this at all, it sounds like asteroids crashing into each other, stars exploding, space-time collapsing in upon itself and elaborate contraptions reciting epic poetry to each other in hitherto undeciphered tongues. this disc does not break from that entirely, but it is drastically different. there are two discs in the collection and it is best to review them separately.

the first disc is actually a collaboration between spybey and an act called abintra, which consists of daryl neudorf and tracy pillsworth, who sometimes takes the pseudonym of sugarpill. producers and music geeks alike will instantly recognize these two, particularly neudorf, as one of the most successful canadian production teams of the last quarter century. now, it would be a fallacy to deduce that the record should therefore sound something like an early sarah mclachlan disc or a kinnie star record; their contributions to the disc do not wander into territory that is anywhere near as commercial as that. from their perspective, this is a chance to relax, expand, breathe and have a little bit of fun in the studio.

from spybey's perspective, it's the exact opposite and the tension is both audible and productive. abintra were trying to push away the restraints of mainstream production work in order to work on a more satisfying product; spybey was trying, for the first time, to incorporate traditional songwriting elements into his work. the result is long periods of electronic soundscaping interspersed with highly melodic idm in a way that contrasts them against each other more than it merges them together. both sides of the collaboration are coming from a very strong position of relative strength, so it shouldn't be surprising to anyone that the record is a bit of a producer's wet dream.

the second half of the disc is a return to the aesthetic of pythagoras' music of the spheres, sounding very much like galaxies being eaten by black holes and other violent cosmological events. however, there are large portions of the record that really can be described using the term "ambient", whether spybey likes it or not. the thirty-seven minute on/of hare hill section is certainly difficult to describe in other terms, and the titles are certainly suggestive: you are on a mountain somewhere, probably meditating, possibly medicated.

future discs would explore the sound on the first disc more than the sound on the second one, which is probably more appropriate than anything else. the only valid criticism of an act like merzbow is that, decades later, it still sounds exactly the same. as a consumer, it's difficult to justify buying dozens of similar discs by the same artist when there is so much unique music out there to digest. that makes this disc unique in spybey's discography and highly recommended as the ideal starting place.
mudslut23

mudslut23

October 19, 2005
edited over 13 years ago
i wasn't too impressed by DVOA's cds. around the time of Piss Frond they rolled on through my town. so i decided to go see the live version, and Mark Spybey kicked my ass with his sonic sculptures. i'd say he's only rivaled by the mighty Cevin Key. his "instruments" weren't your average onstage gear (i.e. wind up toys, toy megaphone) and he was a monster on the theremin. i knew Portishead put it to good use, but i didn't know it could sound so abrasive and loud. anyhow, he performed Geong G'uma and you could feel the song in every part of your body, due to it being loud. i immediately went out the next day and bought the cd and it is permanently in my disc changer!